2020 Art Guide

2 0 1 9 A RT C E N T E R G U I D E

I would like this to be a place of collaboration,

“

of creation, of permanent change, the opposite of a museum, which is a place for preserving works of art in one definite place. The museum part, which represents permanence, is but a small part of the overall project. All the activities taking place around these works of art are much more important than the museum part, and they give life to the art. Because of these activities, the works of art continue to live because they communicate their message and dialogue with the public. —AimÊ Maeght

2020 ART CENTER GUIDE

Friday, Saturday, Sunday, 9 AM to 4 PM June 26 - September 13 Fishtail, Montana

Tippet Rise Art Center S

et on a 12,000-acre working sheep and cattle ranch, Tippet Rise hosts classical chamber music and recitals and exhibits large-scale, outdoor sculptures. Concerts are held on summer weekends in the Olivier Music Barn, or outdoors under the Domo. Sculptures can be toured by bicycle, on foot, or by van. Tippet Rise is located in Fishtail, Montana, against the backdrop of the Beartooth Mountains.

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About Tippet Rise

THE FOUNDERS

Cathy and Peter Halstead have known each

other since they were 16 years old. They both grew up in families that for generations have sought to bring art and education to communities both in the United States and abroad. Cathy is an abstract painter who has shown around the world. Peter is a pianist, photographer, and poet. Some of his poetry is on brinkerhoffpoetry.org. Six piano albums are on pianistlost.com. A Winter Ride and Tippet Rise from Princeton Architectural Press are available at Tippet Rise.

Cathy and Peter are trustees of the Sidney E. Frank Foundation, which makes more than 90 grants annually to charities in the United States and England.

They were inspired to found Tippet Rise by Hudson Valley’s Storm King Art Center, England’s Snape Maltings concert hall, and the many institutions they have been lucky enough to work with, as a way to share all the things they love: music, sculpture, poetry, and nature.

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Looking for Paradise

By Peter Halstead, Pete Hinmon, and Ben Wynthein

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e had heard that Montana was the last frontier.

We owed it to ourselves to see it before we settled for something less open. And it was true. Montana put every place we’d looked at to shame. We looked all over the state, from grassy plains on the Hi-Line to river ranches in Paradise and Gallatin Valleys to the isolated prairies of the Rocky Mountain Front to more wooded smaller ranches around Glacier National Park. We always liked the rolling parts of every ranch we looked at, but they were usually small parts of each ranch, with the rest of the land unusable for our purposes. We wanted to be able to hide sculptures in gentle valleys and hollows.

Finally, we found Bev Hall’s ranch in Fishtail; it was exactly what we’d been looking for. It had no bad parts; it was 100 percent good parts. It was all deeply rolling: our favorite kind of terrain. It was covered in tall grass and sage, which echoed the Scottish Highlands and our summers in Nantucket. It had few trees, so it wouldn’t be subject to the mountain pine beetle kill, which was turning much of the West into a firetrap. It was under the Beartooths, which were a revelation: alpine tundra just feet from the road, Gothic mountains surrounded by tarns and grasslands, which usually would take days to access but were here minutes away, all on the road to Yellowstone’s vast valleys and prehistoric ecology.

There were a few other abutting ranches available, and ultimately, we put together 13 places to make one contiguous area.

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About Tippet Rise

There must be spots equally beautiful somewhere; but in years of looking, this was the most amazing landscape we ever found. In this part of the state, the land lightens. It goes from dark pines to endless horizons of hay. The air becomes radiant, as if it carried grasses from the plains in it. The mountains become somehow comforting, accessible, while also being completely Cretaceous.

We decided to name the ranch Tippet Rise. A sheep’s coat slows its growth in winter, but in the spring new growth resumes. This soft new growth is called the rise, and is easier for shepherds to roo—that is, to comb the wool from the sheep. We have always felt that sheep were complicit in outdoor art, maybe inspired by Henry Moore’s sculpture park at Much Hadham, where ewes huddle around the art, or the sheep in the fields around the Glyndebourne Opera, where the audience strolls during the hopefully golden intermission. A rise is also a gradual up-thrusting bench, as our ranch is. A tippet is not only the twine that ties the lure to the fishing line, but it was Cathy’s nickname for her mother. Cathy had been reading a book about a cat called Tippy, which she couldn’t pronounce. One day she called her mother “Tippet,” and it stuck. All of the kids who surrounded Tippet called her that. She was a mentor to all of us.

Sadly, she died very young. We thought it was about time she came back again; it is her spirit which has been the mirror against which we’ve compared ourselves. The people we love never really die. They rise again out of memory, and in dreams.

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The Philosophy of Tippet Rise by Peter Halstead What people mention most about Tippet Rise is its

alchemy, where the atmosphere dictates the interplay between people and sculpture, between sculpture and music.

Lucas Debargue, a young French pianist who was an audience favorite at a recent Tchaikovsky Piano Competition, made his American debut at Tippet Rise during our first summer. Before he played, he asked to have a tour of the ranch because he said he felt the atmosphere, and he wanted to learn more about it so he could put it into his playing.

Art involves not just a work, but the atmosphere which the work creates, the aura which supports the work. In the way Stonehenge evokes a lost civilization calibrated on the stars, the land at Tippet Rise suggests a unique collaboration between the art, the music, and the sky.

What Tippet Rise tries to create is a bridge between the elements.

Tippet Rise is a geologic metaphor, where the synergy between the landscape and the art makes something else, a kind of poetry, a message read between the lines, never fully seen, but always felt.

Ensamble Studios, who have three works at Tippet Rise, have arranged their pieces like star charts, to map the sky onto the land, to bring constellations down to earth, where we can see them.

When we planned Tippet Rise from 2010 to 2014, we turned to the original divine ratio, the dimensions of the Temple of Solomon, of the Parthenon, of the Great

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About Tippet Rise

Pyramid at Giza, of the jewelboxes where Bach, Beethoven, Mozart, and Haydn performed. This shape, also called the golden mean, is found in the spiral helices of leaves, flowers, and palm fronds, and has been used by Pythagoras, Euclid, Ptolemy, Plato, Dürer, Piero della Francesca, Kepler, Penrose, Le Corbusier, Dali, Bartók, Satie, and Debussy to bring algorithms, design, art, and music into a self-replicating loop, what Douglas Hofstadter would call an “Eternal Golden Braid,” which focuses on both sound and vision of music; it brings it closer to what the composers knew and expected in the Enlightenment and in the prior era of classical proportions. The solar system itself and black holes use this spiral whirlpool, which reflects the magnetic resonance of spins, the theory of opposites repelling each other and driving the Yin-and-Yang energy of the universe, a pattern we can see in nebulae and in the geometry of crystals: things too big and too small to be noticed, and yet you might say they are staring us in the eye.

We wanted sculptures that fit the land, that annotate the music, that connect with the sky, that work with the land.

It was snowing at Tippet Rise, and the young French pianist Julien Brocal was visiting. He wrote a piece for himself and the young violinist Caroline Goulding called Snowing on the Moon, which in turn inspired me to write a poem, and both the piece and the poem were made into a film by Mickey Houlihan and Kathy Kasic, using footage from NASA, reflecting planets on the Calder sculpture Stainless Stealer. The film is called Stainless Stealer Steals the Universe, because its reflecting steel absorbs the NASA footage and reflects it back, the way Shakespeare's Timon of Athens accused everything of being a thief: The sun’s a thief, and with his great attraction Robs the vast sea; the moon’s an arrant thief, And her pale fire she snatches from the sun…

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Baudelaire has said that nature is a forest of metaphor, where the symbols of words, scents, and colors become flesh.

The poem I wrote based on the Brocal piece, the Calder, and the film is called Winterreise, and in turn echoes the Schubert song cycle about the pathetic fallacy, where the arid winter light colors the character of the singer.

So there’s a sense of metaphor, of poetry, to music and sculpture at Tippet Rise. Metaphor is an arch; it’s the span between sound and sky, between frequencies in the air and structures on the land built from the same shape. It’s what’s implied but not stated in conversation: it’s the connotation.

At Tippet Rise, we’re trying to make those hidden synergies visible, for our grandchildren, for everyone’s grandchildren, and for anyone who might, like Schubert’s and Caspar David Friedrich’s Wanderer, pass by.

We’re trying to make poetry come true: the correlations, the conspiracies, between place, music, and art that pass the human spirit into the future.

Music itself is energy made flesh, variants of equations, orbits, atomic spins, which manifest themselves as frequencies, along with other unhearable frequencies such as ultraviolet rays, gamma rays, solar flares, the Northern Lights. When you drive under power lines you can feel the fizz of the frequencies. Sometimes you feel the tingle of a cosmic ray passing through your body.

These mysterious single events are accidental windows into the larger world of atomic structure, which is what creates the scaffolding on which our lives are hung.

Music is a harbinger, an avatar, an eidolon of this invisible world of whizzing atom tails and magnetic relationships. Music exists in the small window of hearable harmonies. On either side of these harmonies are the overtones and undertones of a larger cosmos, 10

About Tippet Rise

just as there are millions more colors than our eyes can see, millions more galaxies than even a telescope can make out.

There are computer pieces which are composed out of tones beyond our hearing, vibrations both too low and too high for our ears’ very limited range. These notes, however, produce sympathetic vibrations within the gamut of our hearing, and these accidental neighbor notes become what we hear, and the piece the composer intends us to hear, although he wrote something else entirely: a piece calculated to produce ghost tones that become in fact the human translation of his ethereal scientific computer program.

Goethe painted a work which, when you stared at its colors, produced a totally different image of complementary colors on your eyelid when you closed your eyes. It was this image which Goethe intended you to see. Goethe, a great scientist, wanted to illustrate how the vast invisible world creates “neighbor” relationships which intrude upon our more limited vision, and how we see only a small part of what’s there, as if we saw a corner of a vast painting of water lilies.

In fact, Monet’s paintings of water lilies were intended to be hung together in an enormous grouping of panels which, put together, illustrated his entire pond. When we see only one of the panels, we are seeing just a bit of what Monet wanted us to see. These panels have almost never been assembled in their entirety, so we effectively can never see what Monet saw (although we can see reduced versions of it in books and on the web). This is where virtual reality will eventually be able to bring us into such integrated environments.

Monet chose to paint without his glasses, so he could see the blurred (and thus impressionist) world that he was used to rather than a world corrected by science.

Cameras existed at this time, and Monet took pictures to help plan his gardens, but the final product was a more romantic version of reality, which he preferred to the more clinical view of the camera.

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When I was in Venice, I took a vaporetti, a water taxi, and photographed Venice reflected in a metal fender on the boat for several hours. The floating palaces superimposed themselves on one another as the boat moved, and the complex reflections were much more baroque than the poor reality. After a while, every tourist on the boat began photographing the fender themselves, although I’m not sure they saw the same mirages my telephoto and polarized lens captured.

Such a lens can also see collages in a rear view mirror of a car which the eye can’t.

And so there is a syzygy, an alignment of planets and stars, a synthesis, which becomes visible to us under certain conditions, which presents the world in a more Cubist way, with light reflected off formerly unnoticed bezels, with reflections in store windows merging with the brain’s memory of what it saw in the last minute.

I believe that we don’t so much see as collate, combining remembered views of our lives that include memories of friends, postcards, snapshots, a kind of Instagram where we brand the world and our travel through it to our own liking.

This is what music is: bits and pieces, overheard snatches of sound, found art reassembled into a jumble of fractal, Cubist, Impressionist, Expressionist angles and colors. The more we know of painting and photography (such as neorealism, photo reality, and such), the more techniques we bring to our personal paintings of the world’s complex synergies.

When I was at Columbia University during the riots of 1968, I was the lone student on a faculty committee of scholars, sociologists, biographers, and musicologists who were trying to reinvent education, to formulate ways that learning could be made attractive to distracted students. Other colleges, such as Brown, devised curricula that students could assemble themselves.

Columbia decided that classes should be interdisciplinary, so that art could be taught alongside music and 12

About AboutTippet TippetRise Rise

literature. Bringing stories to music fleshes it out. A musician plays her own biography. She plays the stories the composer has planted in the music. He understands the subliminal texts, the hidden narrations, and he conveys those through phrasing, voicing, silences, pauses, emphases. The more you know of what happened the week the piece was composed the more you can re-create the mood of the composer.

Music requires multiple disciplines to define it, just as writing is amplified by photos and painting profits from a soundtrack.

Increasingly in our culture we prefer video to mere audio. We prefer stereo to mono, and surround sound to stereo. We will eventually demand virtual-reality films, and holographic computers, the way Beethoven always preferred the newer, more sonorous pianos.

We always adopt the sharpest and most colorful television screens, the most useful computer touchscreens. Art should present itself with as many dimensions as possible.

Thus sculptures show themselves most variously when embedded in the complexities of nature, and music gains color when heard in a sculptural atmosphere. Our videos present a facsimile of performances, but they also try to add visual poetry to the narration. We will eventually add virtual reality as a way of complementing the reality of our concerts. Poetry itself is a shortcut to the underlying meaning of a moment, of a life.

All these disciplines are metaphors of one another.

They are alternate ways of seeing, of processing the world. Masterclasses explain the music, and may in fact be more multidimensional ways of enjoying music.

We hope that everyone will read our programs, and also watch the videos after the concerts, so enjoyable moments can be fixed in their minds.

Google Institute uses surround videography to capture more of a work of art. We should use whatever techniques magnify the artistic experience.

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Tippet Rise is an adventure in multitasking, a collage of experiences which we hope will flesh out nature through art, and music through nature, reality through technology, as the leaves below are a metaphor through which we see ourselves.

At the end of this essay is one of three translations of Baudelaire’s poem Correspondances, which illustrates some of the synergies between material objects and immaterial correlations: Leaves are snapshots of the summer. Their ragged edges trace the summer, as we ourselves are tracings of our passage through books, movies, and meadows. The reality of a photograph becomes imaginary as the photo fades and becomes more of a trick Escher illusion. The dying leaves of autumn are summer’s shadow, its ectoplasm, spread out on the ground, accidental documentaries which bring the phloem and xylem of a tree, its history, out into view. As much as leaves are an emblem of the hidden spirit of the tree, so nature is the edge of a hidden world which supports us, although we can’t see without instruments its small atoms or its enormous nebulae. But it is the lattice of the world, the energy grid which underlies everything, which transmutes thought, which parallels time, which permits the transmigration of matter, and sustains the momentum of planets and galaxies through the affinities between objects, which take the form of magnetism or frequencies. Music is a compendium of that skein of allegiances, where complex formulas, the Fibonacci sequence, Fermi’s spiral, the petals of field daisies, the whorl of a pinecone, assume the momentary human mask of melody, a matrix, so that we are not disturbed by the terrifying cascade of questions and solutions which underpin our existence.

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LEAVES Nature is a trick whose trees Are the root of our conspiracies: Trompe l’oeil hints and pseudLEAVES onyms With the future in their limbs:

Nature is a trick whose trees Are the root of our conspiracies: Soft as night and dark as rhyme: Trompe l’oeil hints and pseudonyms Ancient snapshots stained by With the future in their limbs: time, Now-imaginary places Soft as night and dark as rhyme: Whose faded edges trace us,

Ancient snapshots stained by time, Now-imaginary places Edges innocent as skin, Whose faded edges trace us, And some, original as sin, Light as autumn our face,as skin, Edgeson innocent Emblems spread out space,as sin, And some,into original

Light as autumn on our face,

Incidental woodland scents Emblems spread out into space, Which turn our spirit into sense.

Incidental woodland scents Which turn our spirit into sense.

By Peter Halstead

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The Ecosystem of Tippet Rise

Tippet Rise is at the north end of the Greater

Yellowstone Ecosystem, some 22.6 million acres acting as a single unit around the immense caldera of the park. In 2016 Montana science writer David Quammen put together a wonderful book called Yellowstone, along with the photographers of National Geographic, who spent a year in the park.

Tippet Rise is buffered on the west and north by the Beartooth Mountains, created by the Yellowstone supervolcano. These mountains form a lava wall which runs deep underground, as well as rising to the highest summits in Montana, and which shields Stillwater County from Yellowstone’s seismic activity. This volcanism is forced to travel elsewhere, such as up the Madison and Gallatin river valleys farther west, where Quake Lake, 6 miles long and 190 feet deep, was created in less than a month by an 80-million-ton landslide, which dammed the Madison River, all of it stemming from a seismic tremblor.

Far away from such faults, Red Lodge is a small ski and mountain town at the unknown fifth entrance to Yellowstone. From Red Lodge you wind upwards through the many switchbacks of the Beartooth Highway to a succession of high tundra plateaus on top of the world, exposed to sudden squalls, summer blizzards, temperature drops—all the exhilarating benefits of the alpine world. This is the most easily accessed high mountain wilderness and the largest true high elevation plateau in the United States, yet it is virtually deserted.

Millions of people descend on Yellowstone in the summer, but they haven’t discovered the neighboring Beartooths, a million acres of Gothic spires set among

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About Tippet Rise

hundreds of large alpine tarns, lakes formed by snowmelt from the glaciers. Unlike similar high mountain environments in Europe, the Andes, and the Himalayas, this unique area can be driven through. Cars can be used to access mountain bases. When it was built in the 1950s, Charles Kuralt called the Beartooth Highway the most beautiful road in America. Fifty-foot walls of snow enclose the road immediately after it is plowed in late May, to be replaced by rolling fields of wildflowers in June. As the snow melts in July, trails into high mountain meadows open. Benign fall weather continues until early October, when sudden blizzards close the area until next May. Although the common explanation of the name Beartooth hangs on the spire hidden among massifs just north of the highway’s summit pass, in reality there are thousands of rock fins that jut up unexpectedly throughout the mountains here, made from Bighorn dolomite, Jefferson limestone, and Madison limestone, all from widely different periods. Pinched upwards by the Laramide uplift some 70 million years ago, these layers of rock strata rise like hands in prayer, or like the pinnate vanes along a Stegosaurus’s tail. They could be giant sharks’ teeth, or bears’ teeth. The famous basalt dike along the Hudson River just north of Manhattan is called a palisade, after fort walls built by soldiers during the colonial period.

But these palisades are just chapters from that longer book. The long dike has eroded, leaving only incidents, platelets, wings sticking up. Some are almost 300 feet tall, and thin. They pop up in inaccessible places, like Godzilla emerging from the deep, but also along the road leading to the Red Lodge ski area, and along the Beartooth Front.

Five hundred million years ago, the entire region was below the sea. Seventy million years ago, the ocean began to recede. You can still find fish fossilized in the cliffs. More than two miles of sediment from the ocean was left behind. Fossilized trees are buried in the sediment around the highest points of Tippet Rise.

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After the majority of the sea receded, the remaining water turned into ice, compacted from rains, and came alive. As its glaciers moved down the Beartooth Front under their own weight, they eroded the ocean sediment to create cirques, arĂŞtes, and hanging valleys, which can all be observed above the gorgeous East and West Rosebud canyons.

A glacier is like a snowplow; it pushes everything in front of it. The dirt that gets pushed to the side forms a moraine. The two parallel moraines on either side of the glacier form what is called in Montana a coulee, a valley with steep moraines or walls on either side. Kettle lakes, kames, eskers, and outwash plains are left behind when the glacier’s plow finally melts and disappears, which is how the land around Tippet Rise got its distinctive shapes. However, the Beartooth Mountains still retain 107 cirque glaciers (tucked into the base of mountains) and 390 rock glaciers, more glaciers than Glacier National Park.

Into this geologic showplace rose the limestone remains of the ocean sediment which we call the palisades, and which give the Beartooth Range its teeth. The teeth are reflected in Ensamble Studio’s Portals, which rise like Stone Age erratics from the soil beneath them.

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About Tippet Rise

Tippet Rise, at the northern tip of this 22.6-million- acre ecosystem, is further buffered on the west by the Gallatin National Forest, which may have trees but which is really a million-acre roadless wilderness anchored by the Absarokee Mountains.

To the south run the legacy ranches, such as Jack Bugas’s ranches in Clark’s Fork and Sunlight Basin (where the Marlboro Man ads were filmed), bought

by David Leuschen to form part of his 200,000-acre Switchback Ranch; The Lazy E-L Ranch, run by the MacKays since 1901; the Scotts’ 475,000-acre Padlock Ranch; Susan Heyneman’s Bench Ranch. As far as the eye can see, the land is in conservation, or mandated for ranching. The rolling grasslands have been scraped raw of soil and trees by wind and fire until grazing has become the best use of the land, so cows are mainly what you see for 50 miles as you drive to Red Lodge from Fishtail.

What you see at Tippet Rise is only the tip of an immense system, a microclimate of cloud patterns, wild Chinook thermals, sudden squalls and blizzards, in the rain shadow of Yellowstone and the Beartooths, all of which contribute to the otherworldly light, the soothing breezes, and the long lines of the land created by one of the largest nearly intact temperate-zone ecosystems on Earth.

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Sustainability at Tippet Rise

by Pete Hinmon

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About Tippet Rise

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e want to leave as little impact on the land as possible. This ideal has guided every decision we’ve made in planning the art center. Prior to construction, Tippet Rise commissioned a threeyear comprehensive study of the ranch from Arup, headed locally by DOWL Engineers, before siting buildings, infrastructure, and art.

To offset our reliance on well water, we installed surface and rainwater reclamation systems. These systems can store up to 100,000 gallons for graywater and irrigation use.

Eight thousand square feet of bifacial solar panels were erected to produce power for the Olivier Music Barn’s recording and light facilities; the panels also provide shade and charge our hybrid tour shuttles.

Tippet Rise has partnered with Beartooth Electric through net metering; any excess power we produce is pushed back onto the local grid.

The heating and air-conditioning system in the Olivier Music Barn was designed by Arup and MKK Consulting Engineers and utilizes ground source geothermal energy to heat and cool the building.

Air passes through oversized, noiseless ducts to maintain ideal acoustics while heating and cooling.

The Music Barn is climate controlled by state-of-theart systems that keep its humidity and temperature within two degrees of the ideal.

The Olivier Music Barn and the Cottonwood Campus have been awarded LEED Gold certification.

Our staff is on hand to answer any questions you may have about sustainability at Tippet Rise.

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Tippet Rise Is a Working Ranch

by Ben Wynthein

Ranching at Tippet Rise? A question often heard.

The answer: absolutely. Tippet Rise is 12,000 acres of ranchland in south central Montana. We believe that the rangeland we live on needs to be cared for with the utmost attention to quality—not only as a moral obligation to care for the health of the land itself but also for our guests to enjoy and experience. This stewardship also allows us to partake in and share Montana’s rich historical and cultural tradition of ranching. Part of that care is the necessary grazing of the range with ungulates, as has been done here for thousands of years.

This integration of grazing animals allows fresh regeneration of the plants and animals that grow here, which helps us to better manage the risk of damaging fires in our landscape.

Portions of Tippet Rise are leased to a few separate, long-standing Montana ranch families, On the northern half of the ranch, one family runs Rambouillet sheep.

This family brings 1,200 or so ewes annually to Tippet Rise to aid us in the control of noxious weeds. The family also brings to the ranch, every June through October, between 300 and 380 head of cow-calf pairs and yearling heifers to be run on the north side of the

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ranch. At around the same time, the sheep are herded onto areas where noxious weed species are present. By eating and digesting the seeds, the grazing sheep help limit the spread of the weeds to new areas. The cattle are often rotated from area to area within the ranch so that they can graze the grasses in the appropriate quantities.

Tippet Rise leases a portion of its land on the southern half of the ranch to a second local ranch family with a proven record of land stewardship and high-quality ranching integrity. Every spring their cattle are brought to Tippet Rise and combined with Tippet’s own cattle so that they can all graze on the southern side of Tippet Rise. Annually these herds consist of about 130 cow-calf pairs and 200 yearling heifers. In the fall, portions of this herd return and winter north of Columbus, Montana. Some of Tippet’s steer calves, however, stay right here at that time and are raised to weight right on the ranch. Over the following summer, some of those calves become beef for our guests to enjoy during their visits. We hope to give guests the opportunity to experience a true ranch-to-plate meal while they visit us. The best of the Tippet heifers will be saved to 2020 2020 Summer Summer Season Season

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become permanent members of the herd. Tippet Rise’s cattle wear the state-registered quarter-circle T lazy R brand on their left hip. Perhaps it stands for “Tippet Rise under Domo.” The Domo, which is a slightly curved dolmen in the shape of that quarter-circle, is our highest sculpture in elevation.

In the winter, much of the ranch goes into total dormancy and quietness. We leave plenty of grass and natural feed on the ridges and meadows, where the chinook winds through the winter keep the ridges free from heavy snow.

During the winter, this allows the elk and deer to migrate to these areas from their summer homes in the surrounding mountains. At this time, they are allowed to eat and maintain body condition with less effort than if they stayed in the mountains, where the snow lies much heavier and the feed requires much more energy to find.

One important resource that Tippet Rise is also constantly working to improve is management of our water resources. Included in this challenge is the constant improvement of drinking water for ungulates, wild and domestic. Since the beginning, we have completed 36 major water improvements that help increase even livestock and wildlife distribution on the land, as well as reducing pressure on the riparian areas we do have.

Many of these systems for livestock water also do double duty as key and strategically placed locations for fire trucks to rapidly fill in the event of a wildland fire.

All of the water systems are hidden as well as possible in the landscape so as to maintain the open, rugged, and wild feeling that we hope to preserve.

We look forward to the future of ranching, as well as to providing a landscape that our guests and artists can visit, experience, and thrive within—a healthy landscape that represents the cutting edge of art as well as a deep commitment to land stewardship and the Montana ranching tradition that this good stewardship makes possible.

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“We are enormously lucky to have the talents, experi-

ence, wisdom, diligence, and probity of Ben Wynthein as the steward of the ranch, the cattle, the sheep, the flora, the soil, the water, the roads, and the wildlife on the ranch.

The quality of the land on all the ranches in Stillwater and Carbon Counties affects all of us, and Ben has turned Tippet Rise into a model environment for the area. He is working to bring solid innovation to the vital traditions of American ranching.

The new wells which Ben has installed contribute to our ability to water livestock, prevent fires, and cultivate healthy grasses. Ben is masterminding our constant road improvements, repairing and adjusting fence lines, and overseeing our first herd of heifers raised entirely on Tippet Rise. He has led our film crew and visitors to appreciate and film wildlife. He built the replacement cabin in Box Canyon and he marshals the outfitters who operate out of it.

Ben’s wonderful wife and charming children add the most important part of the ranch: a warm family which brings a great sense of spirit to our team, our visitors, and our community.”

—Peter and Cathy Halstead

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The Canyons of Tippet Rise

Box Canyon

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e are fortunate to have five large named canyons, and innumerable smaller ones.

Box Canyon This isn’t a true box canyon because the stream that winds through it seasonally has cut its way down a narrow path ending in a pond. That is, you can get out. It’s not a dead end with a headwall. It’s a denouement with a pond. It has an adjacent small canyon, the North Fork of Box Canyon, over which stone cliffs lower. The trail here winds down from Mark di Suvero’s metaphor, Beethoven’s Quartet, hanging between the frequencies of sky and land, to the cowboy cabin rebuilt by Ben Wynthein in the winter of 2017. This has a fountain fed by a spring up about 400 feet to the immediate west.

Box Canyon also has di Suvero’s 70-foot-tall sculpture Proverb, which for 12 years was on the lawn next to the Meyerson Symphony Center, in Dallas. The sculptor put it together here in a windstorm, its compass legs dangling from an enormous crane.

Proverb changes the dynamics of the canyon.

It anchors it, while the canyon echoes Proverb’s wild side. Both seem less without each other, now that they have married.

Proverb was created in homage to the mysterious artifacts of art which measure the achievement of humanity as much as any other method, such as science or math.

A path continues to a bench above the cabin, where once our summer tent had to be tied to a Unimog to keep it from blowing away. From there, the path winds up to the ridge road which runs between Box and Arney canyons.

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Arney Canyon Immediately to the north of Box, Arney is our soft, walker-friendly canyon, with its gentle bowl and waving grasses. At its head is di Suvero’s sculpture Beethoven’s Quartet. The shining steel Möbius strip hanging from its iron sawhorse is the unknowable offspring of the Industrial Revolution. Hanging from iron girders, it is a cold bend, having been bent without the help of a blast furnace into its other-dimensional curves by Mark with a crane over a period of a year, one of the great advances in modern sculpture and a milestone in Mark’s career.

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Arney Canyon

The road winds east along the ridge and crosses the canyon down below at a small pond, out of sight of the sculpture, where strange Aku-Aku rock shapes can be observed.

A walking trail winds to the north around the large knoll to the Domo, a path which gives you a small taste of the intricate spaces surrounding the sculptures.

Canyons and hills continue north on the ranch to the Stillwater Road, on the other side of which is a million-acre portion of the Gallatin National Forest which continues over the Absaroka Mountains to Paradise Valley.

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Murphy Canyon

Murphy Canyon and Midnight Canyon You can take the bus out of Arney Canyon and around the rolling hills to Ensamble Studio’s Domo, a Stone Age dolmen where we hold outdoor concerts. Domo was designed to be a disguised amphitheater, which magnifies the sound for concerts inside it for 500 feet on every side.

Just to the east of Domo, you can walk down the road on a ranch track to the head of Murphy Canyon. This is a magical place, strewn with glacial erratics, boulders left over from the ice sheet which once covered the area.

The road continues across the bottom of the creek and up an unnamed valley alongside a long rock dike which seems to have faces embedded in its angles. If you look long enough, you can see Beethoven’s Quartet on a ridgetop to the southwest. If you walk along the road for half a mile, you pass through a bowl, up its lip, and down into a second bowl, a perfect site for outdoor concerts. Cows graze on one side. You can see eight mountain ranges. Other than the cooling breeze which waves through the grass, everything is completely still.

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Retracing your steps and starting again at the bottom of the creek, you can walk west, up the giant doldrums at the head of the canyon to high meadows, and reach the road to the Midnight Canyon Overlook. Midnight Canyon is a miniature version of the Grand Canyon.

Or with a guide you can walk east, down into the wilderness of Murphy Canyon. There is a path around which the cliffs rise a hundred feet. Be prepared for wolves and eagles. Even if you see nothing, you are being watched by a hundred eyes.

Grove Creek Canyon To the north are farther canyons, the South and North Forks of Grove Creek Canyon. This is wild land, populated by horses which have been running wild for decades. It abuts Midnight Canyon Ranch. We intend to keep our northern canyons as we found them, to preserve the sense of adventure when we stumble on new pastures and high meadows. We want to be able to preserve a sense of discovery for ourselves and our visitors, so we all feel the way we felt the first time we turned a corner and saw a new world in front of us.

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The Tiara Story W

e had been talking with Arup Engineers in New York for years about various outdoor pavilions they’d designed.

Finally, I designed my own, because we had a lot of leftover doors, and I saw them as a great way of bouncing sound to an outdoor audience.

Alban Bassuet was so horrified by my Rube Goldberg version that he leapt into action and, with Willem Boning at Arup, designed what is now the Tiara Acoustic Shell, a wall-less, roofless shed that bounces music to an outdoor crowd using only the top corners of an otherwise invisible room.

You can see from the acoustic studies how the sound lines carom off the walls. If you add in a slight overlap from a partial roof, the secondary and tertiary sound-bounces intensify. Alban and Willem discovered that 90 percent of concert sound comes from the top edge of the walls, where they meet the ceiling.

Laura Viklund and her husband, Chris Gunn, built this shell in a month in Cody, Wyoming, out of plywood, drove it up to Fishtail in pieces, and put it together in a very frantic week over by the Tia Barn. We’ve since moved it to a location closer to the Olivier Music Barn.

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For its first concert, we asked the Red Lodge Chamber Players and the Magic City Strings to play Dvořák’s “American” Quartet in it. The results are on the web. This was the perfect piece for Tippet Rise: Dvořák wrote it to capture the sounds of what he saw as the real America.

Dvořák himself, as a Czech, was regarded as a gypsy by the Prague Symphony, and had to fight prejudice all his life to become the composer he suspected he might be.

The uniquely American spirituals, hymns, and the sheer freedom of wide-open ranges are evident throughout the piece, as is the scarlet tanager in the third movement, a bird which was bothering Dvořák in his studio, so he wrote it into the quartet and it became an asset (a great way of dealing with difficulties).

The musicians inside the Tiara were astonished, because they heard the lush reverberation of a small, wood-paneled concert hall, as did the audience. But you could see everywhere around you, and the presence of the American West on every side of and above the musicians was the beginning of what we came to see as the land’s contribution to the music, as Dvořák’s “American” Quartet, written in 1893 in Spillville, Iowa, has for so many years contributed to the myth of the American West.

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The Olivier Story T

he Olivier Story is the story of all the people who helped us realize our ideal, and the buildings we encountered along the way.

Raj Patel and his team at Arup Engineering in New York conspired with us for three years, introduced us to their London team, and developed the engineering concepts for the hall, its lighting, and its sustainable plumbing and ventilation.

Alban Bassuet, our lead acoustician at Arup, joined us as the first director of Tippet Rise and guided us through the history of small concert spaces while working tirelessly to implement the practical aspects of the hall.

Laura Viklund and her husband, Chris Gunn, of Gunnstock Timber Frames developed countless designs along with us and Alban, and oversaw the construction.

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Mickey Houlihan helped us plan the audio-video element, and coordinated the complex installation of the components.

Lisa Delplace and Liz Stetson of OvS designed the landscaping, and Pete and Lindsey Hinmon helped Alban organize the hundreds of local craftsmen who actually built the hall.

Cindy Waters worked with us to design the interiors of the barn and the 20 initial bedrooms we built on the ranch.

Ben Wythein kept the ranch and the livestock running smoothly throughout the enormous disruption of the construction of the hall, 13 miles of roads, and 10.5 miles of biking and hiking trails.

There were ultimately four buildings whose acoustics we combined in the Olivier Music Barn: Snape Maltings, Wigmore Hall, Haydn’s jewel box at the Esterhåzy Palace in Hungary, and the Glyndebourne Opera House.

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Snape Maltings We had heard a wonderful concert at the Aldeburgh Music Festival, started by England’s best-known opera composer, Benjamin Britten, in 1967 by the ocean in Sussex, some three hours north of London. Britten had asked the great engineer Ove Arup to help him adapt a large barn which had held malt barley into a concert hall. Britten had lived nearby all his life and had always dreamed of concerts in the beautiful stone barn set in fields on the Sussex coast.

Derek Sugden of the Arup Group invented the “Snape Maltings roof.” This was a unique design, where a flat roof was lifted up some 40 feet by slanting walls which met about 10 feet apart on the flat part of the roof.

Behind the roof were vents for the heat to be vented from the building. As heat rises naturally, the hall could then be cooled without machinery, although a large fan brought air into the basement, as is the case in the Olivier Music Barn.

At Snape we heard a concert by the wonderful pianist Elisabeth Leonskaya, who played the late Schubert sonatas. The sound seemed to rise up above the audience and mist down slowly. The sound was aerated, smoothed out, softened, filtered; it descended on us evenly and gracefully, like a warm summer rain. It was the most gorgeous and dignified presentation we had ever heard of Schubert, whose chords are rooted in the tones which planets make as they hum in orbit. You can almost feel the Earth spin.

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Wigmore Hall We also listened to Wigmore Hall, which had always been our favorite urban space. It was originally Bechstein Hall and opened in 1901. Arup re-designed it in 2004. Its classical shape, the shoebox, made the sound powerful and brought it close to us. It seemed to surround us in a more personal way even than Snape, touching every part of our bodies.

Arup had done a study there, asking the audience if it preferred bleachers, or risers, instead of seats on a flat floor. After a year of sitting on bleachers, the audience voted nearly unanimously that they preferred the original floor, because they liked the way music enveloped them. With bleachers you could hear the separation between instruments, and between the low bass and the high treble. But risers lacked the romance, the familiarity, the communion of a flat floor, where sound descended from the stage to the audience stretched out below.

The problem with a stage is that the first few rows only hear “belly sound” from the underside of the piano, which is much less attractive than the music which arches from the lid of the piano upwards and outwards to the audience, making for a more comfortable experience, without the listener’s fatigue you get from too harsh or edgy a sound when you sit in the first few rows of such a hall.

So we decided we wouldn’t have a stage, so there wouldn’t be belly sound for the near rows. We ended up using the smallest of stages, maybe two inches off the concrete floor, just to help with seeing the performers. Having no stage brings the performers closer to the audience psychologically. We had sat on the front row of the bleachers at the Hoffmann Hall at Snape Maltings, and felt complicit with the musician’s performing Stravinsky’s Octet for Wind Instruments.

The next element of the room was the Snape roof.

This lets the sound bounce around in the cupola of the barn, the way you toss pizza dough into the air.

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The notes weave together, and form a cat’s cradle among themselves before floating back down into the room, magically interwoven. Otherwise, notes can bounce confusedly around, creating a harsh tone.

Added to this is the “halo,” a ledge running around the room where the wall joins the ceiling, about six inches wide. We enlarged this to a foot wide to make it even more important to the sound than smaller haloes in the Glyndebourne Opera Hall, in Wigmore, in the Leipzig Gewandhaus, and in Snape Maltings. This incidental detail, a simple ridge around the walls, catches many of the notes before they continue up into the ceiling space.

These notes are shot back at the audience immediately. This is called the “first bounce.” It makes the notes sound immediate, fast, tight, whole, powerful. So this quick return mixes with the delayed softness from the Snape roof to give a rounded sound to the music. You get the mixture from the roof, but also the quick tennis-ball volley from the halo. The ear hears these vibrations at the same time, and mixes them in the brain into what is then perceived as a driving, accurate, tight bass, a singing midrange, and a brilliant treble. In other words, a perfect loudspeaker. But it is even better than a loudspeaker, because this is the real thing, the music itself, unfiltered by a stereo, by a microphone, by an amplifier, by a magnetic coil.

We learned from the six deeply recessed window boxes in Haydn’s favorite room that sound bounces between the wood sides of the window box and never reaches the harsh-sounding glass of the window itself. So our one large window is a deep bay window.

We had built five recording studios and made dozens of recordings in them for Russell Sherman, Chris O’Riley, David Deveau, and others, with legendary engineers (Tom Frost, Judith Sherman, Wolfgang Erichson, and Tony Faulkner), before we built the Olivier Hall, so we had learned by trial and error how rooms help and hinder sound, and were ready to learn from the acoustical finesse and experience which Alban Bassuet brought to the project.

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Just after the Renaissance, when classical music was at its peak, elegant salons and music rooms in rococo palaces had architectural details which actually helped the sound. Statues broke up the notes. Moldings dispersed the tones so that no particular frequency was too loud.

Wooden floors filtered the sound. Haloes focused it.

If you build a perfect room, you can enhance it. If you build a flawed room, you can never fix it.

The Esterhรกzys Prince Nikolaus Esterhรกzy was the richest aristocrat in Hungary. Eventually the family extended its influence into the Habsburg Monarchy, which had originated in the Holy Roman Empire. By 1867 the region had become a dual realm, as the Habsburgs extended their rule under the Empress Maria Theresa over both Austria and Hungary. She brought in Slovaks, Serbs, Croatians, and Germans to provide workers, whose cultures also diversified the realm. Her son Joseph, an enlightened despot under the aegis of the Enlightenment, brought further culture, freedom, and reforms to the land. He was the last of the absolute monarchs, and his people flourished under his liberal yet strict rule.

Music Room, Esterhรกzy Palace

The Esterhรกzys were reputed to be richer than the Austrian emperor. One of them wore a diamond-encrusted coat to the coronation of Elizabeth II in 1953.

Loyal suzerains of the Habsburgs, they were granted land taken from the Protestants and the Turks in battles, which they led. Nikolaus the Great was a man of immense culture and a great patron of Haydn. The family also helped Mozart and Beethoven, and later Chopin.

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Nikolaus rebuilt his hunting lodge in the great swamps around the Neusiedlersee into the Versailles of Hungary, with 120 rooms. His private musicians hated it. There were no cafés, no shops, no parties. Only the endless swamp, hunts they weren’t invited on, and concerts every night. Haydn wrote his “Farewell” Symphony to demonstrate to the Prince the musicians’ despair. One by one the musicians stopped playing and left the room, until only Haydn and the Prince remained. The Prince got the point, and they all left the swamp the next morning for Vienna.

The endless swamp which surrounds Mervin Peake’s Gormenghast is, I believe, based on Nikolaus’s palace in Fertőd (although the castle itself came from Sark, where Peake lived under its walls for four years).

It was Nikolaus who built the “jewel box,” a small salon with elegant, jewel-like angles, for Haydn, who wrote and performed his chamber music there. It was planned in 1762 and finished in 1784. Concerts and recordings continue there today. A larger room, the Haydnsaal, was built in the better-known Esterházy Palace at Eisenstadt, outside Vienna, for which Haydn wrote his symphonies.

Glyndebourne Opera House The Glyndebourne Opera House was built in 1934 as the dream of Sir John Christie and his wife, the concert pianist Audrey Mildmay. It is renowned for its enclosing sheep-filled meadows. It was redesigned in 1994, with acoustics by Arup, as an innovative 1,200-seat theater, in what was a radical move at the time towards a more intimate acoustic. We had been attending summer operas there for a while and had loved its powerful and focused sound, even before realizing that it was designed by Arup. We help Glyndebourne with its education program and its wonderful filmed operas, which are directed by legendary theatrical figures from the London stage, ensuring productions that work dramatically as well as musically.

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Arup We went to Arup because of the perfect acoustics of the Snape Maltings concert barn, which they helped Benjamin Britten adapt for music, and because of Wigmore Hall in London, whose renovation they designed. Both are small halls with perfect acoustics.

Arup sent us to England, where we visited King’s Place, where Arup had modified the original Snape roof design in a building used for music, art, and food in London’s Kings Cross area.

The Sevenoaks School is next to Knole Park, where Vita Sackville-West and Harold Nicolson lived in Knole House, one of the largest houses in England. English aristocrats and Arab princes who live in the area today send their children to be educated at Sevenoaks.

Arup arranged for a concert so we could hear the modernized Snape roof they had designed, to show us how the larger original roof could be adapted to a space of any size.

Arup had designed the superior acoustics of Harpa in Iceland, the Oslo Opera House, the Sydney Opera House, the Royal Opera at Covent Garden, Benjamin Britten’s Snape Maltings Opera House, and the majority of the successful acoustic concert spaces in the British Empire over the last 50 years.

Arup in turn felt we were on the wave of the future, wanting to create a closer concert experience.

Arup staged a competition for us with four international firms whom we subsequently hosted in Montana, but Alban had met Laura Viklund at an architectural conference when she was still at Harvard and felt she would work with us seamlessly, with her knowledge of architectural precedent and her husband Chris Gunn’s mastery of ancient timber framing technique.

Hector Berlioz convinced the impresarios of his day that halls had to be large enough to accommodate a 2020 2020 Summer Summer Season Season

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Romantic orchestra of 88 players. Cities commissioned them as a matter of status. At that time, there was no other competition for public entertainment, so the halls were financially viable for a while. Some of these oversized halls even had great acoustics (Boston’s Symphony Hall, Carnegie Hall, Severance Hall, the Zurich Tonhalle, the Leipzig Gewandhaus), but most didn’t.

The eventual failure of large halls to attract the very crowds they were designed for has led to a new direction, such as the smaller New World Symphony Hall in Miami Beach, Harris Hall in Aspen, the Vilar Center in Avon, Colorado, Le Poisson Rouge (the former Village Gate jazz house) in New York.

These smaller venues have become the sustainable concert models of the future. Such venues are adaptable to theater, lectures, jazz, chamber music, and solo concerts, so they are effective multipurpose spaces, and the more forward-thinking engineering concerns, such as Arup, have taken notice.

In fact, the Romantic symphony hall is a brief aberration in the history of performance spaces, and the balance is now shifting back to the historic smaller model.

As Alban Bassuet wrote us: I can tell you a long story about “great hall” rooms. But briefly, these are the most recurrent room dimensions in history, starting with the Temple of Solomon (with the inner chamber dimensions of a “jewel box”). Great Hall dimensions have traditionally been 45×90 feet, and are in every castle/palace in Europe. Originally used for banquets and events, they became the main room for instrumental music, such as Bach’s and Handel’s orchestral suites, and then led to the early concert halls in the Romantic era (Leipzig’s Gewandhaus and later the Musikvereinsaal). The Haydnsaal at the Esterházy Palace at Eisenstadt was, however, constructed earlier, in 1784.

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Other great halls are many of the chancel barriers in cathedrals which were otherwise too big for music, where concerts were then performed inside the chancel (e.g., at Notre Dame). My favorite great hall, personally, is in Rome, in the Cancelleria, just next to the fountain, which also has a jewel box just next to it, which I love equally. The Cancelleria is my favorite because it is not too long. It is much more enveloping because of the closer rear wall. Another famous great hall is the Sistine Chapel.

The Soundlab at Arup In the Soundlab, Arup engineers feed hall dimensions into computer programs, which play the sound of those rooms through 17 speakers arrayed around a sweet spot, with a screen in the front which shows the architectural plan of the room being heard. As the room dimensions change in the computer and on the screen, the sound also changes, so you can hear the room you are contemplating before building it. You can eliminate windows and doors, expand the ceiling and walls, change the texture of the floor. We could hear the personality of the music diminish as the room expanded, even slightly, from the jewel box model.

We listened to the sound of the jewel box and then the larger Haydnsaal, as well as dozens of other famous halls which had been programmed into the Soundlab: the Zurich Tonhalle, the Leipzig Gewandhaus, the HĂ´tel Salomon de Rothschild in Paris, the Cancellaria in Rome.

We came to prefer the power and intimacy of the jewel box over the larger and more dispersed sound of the Haydnsaal or Wigmore, the two runner-up halls.

Acoustics often lose out to the visual aspects of design, but in the Olivier Barn we put the sound first, inspired

by Alban Bassuet’s study of Baroque and Classical small concert spaces, some 12 halls still in use in Europe: dimensions only found in the United States at Tippet Rise.

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The Olivier Barn The Fertőd jewel box became the benchmark for our concert hall. The room is 35 feet wide and 55 feet long and fits between a cube and a double cube. It is the height which gives it its determining sound, however.

Although it is around 39 feet high at the flat part, the Snape ceiling is a very unique shape, and gives the music room to breathe. Dimensions can’t quite describe it.

We took from Wigmore its halo, and its flat floor. We took from Snape its extended ceiling box, its hard side walls. We took from the Fertőd Esterházy jewel box its dimensions. In our second season, we added a two-inch wood floor over a third of the room, cushions on the benches, two sculptures on the front walls, and slanted panels across the box corners up by the ceiling, which lent warmth and eliminated some harshness.

The concrete floor allows for a clean, accurate bass sound, warmed with a wood floor under the instruments. This floor is simply rested on the concrete beneath it.

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The extra wood on the floor burnishes the sound, the way wine aged in oak gets a woody taste, so sound is actually aged by the wooden floor, giving it a woody patina, so that each note runs through the many years of built-up rings of wood, giving each tone many timbres. Using wood this way gives instruments a gorgeous cello-like sound.

The walls are larch, so the sound is filtered through the wood before bouncing crisply off the cement board behind. Like a cement floor, cement board preserves the quality of the tone, enriching the bass and brightening the treble.

The simplicity of the wood hides the complexity of the audio, video, and theatrical lighting conduits hidden between the wood and the hard cement boards.

The basement and the mezzanine hold the electronic secrets of the space. We record concerts and independent sessions with DPA and Neumann tube microphones, along with U67s and ribbon spot mics. We use the Pyramix/Horus multichannel digital recording system to make ultra-high resolutions of more than three million Herz a second. Multichannel sound and 4K video is routed to the basement, where professional racks allow for multiple different routings before the final choice is sent up to the control room, the broadcast booth, the projector, or the lighting room.

The computer files we produce end up on YouTube, on Vimeo, on Performance Today, on the PentaTone label in surround sound, on artists' labels, and on our website, tippetrise.org. Select performances are available in our download library, where people can download their own copy of an album recorded at nine times CD-quality sound. We record in nine-channel surround sound and offer stereo versions in high-resolution 24/96 and ultra-high-resolution 32/384, known as DXD.

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The Xylem Pavilion F

rancis KĂŠrĂŠ named his pavilion Xylem because xylem is one of the fibers present in tree trunks which sucks moisture out of the ground and uses it to grow leaves on the tree canopy.

Frances has designed similar trees for the Louisiana Museum in Denmark and for his 2017 Serpentine Pavilion in London. Trees in his native Burkina Faso provide a meeting place, a courting zone, and shelter against the sun. The tree is a place where people can get together in a safe area and grow their community. In the same way, it is a village in Africa reaching out to our small region in Montana, just wanting to make friends. As Francis is helping people in our area to get together, we are helping him build a high school in honor of his father in his native village of Gando. Soon the children will begin gathering there to learn, and we will be able to share the

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photos and films of their progress, as they will see examples of what we’re doing in Montana. This is a small way we can celebrate the growing quality of life we want for everyone.

Every day last year another 325,000 people got electricity. Each day, more than 200,000 got piped water for the first time. Every day some 650,000 people went online for the first time. In 1981, 42 percent of the world’s population lived on less than two dollars a day. Now only 10 percent live in that kind of poverty. We are approaching 90 percent adult literacy. Americans have given more money to charity this year than ever before.

People are reaching out more than ever to one another, towards a better life. Francis Kéré’s tree pavilion is a way of sharing the idea of community between two towns in distant nations, and a way of bringing us closer together in the simple ways that unite us.

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The seating is shaped like organisms seen through a microscope. Francis based these forms on acrylics which Cathy painted as part of a commission for the German airline Lufthansa in the 1980s, a happy coincidence, as Francis was educated in Berlin and later set up his architectural firm there. At his father’s urging, he had been the first person to leave his village. At the time, everyone asked, “But who will bring in the cows?”

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Now Francis has been able to bring the world back to his village, and bring education to an entire generation of children in his own and in many other villages in Africa.

His father’s wisdom became clear to everyone in the end.

He went out into the world only to bring it back to his village. Getting to know the world is most worthwhile when we can bring it back home to our families.

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Performance Spaces The Olivier Music Barn

With a direct view onto the Beartooth Mountains, the Olivier Music Barn is inspired by the intimate performance spaces where composers like Haydn and Bach premiered their compositions.

The pitched roof creates an elevated, ethereal sound, and the barn’s humble nature creates an informal space that breaks the barrier between performers and audience members, enabling powerful, direct musical experiences. The Music Barn is also home to Tippet Rise’s Visitor Center and a state-ofthe-art screening room equipped for 4K high-definition film projection and three-dimensional immersive sound installations. The building and its systems have been awarded LEED Gold certification.

Architect Laura Viklund led the Olivier Music Barn’s architectural design. Acoustician Alban Bassuet managed the project and crafted the acoustics of the performance space. Gunnstock Timber Frames, with help from local craftsmen, constructed the barn using traditional mortise and tenon joinery. Oehme, van Sweden (OvS) landscape architects designed the siting of the Music Barn, its orientation to the mountains, and its relationship to the surrounding environment.

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The Tiara Acoustic Shell The Tiara is a portable acoustic shell that invites listeners to enjoy performances while being enveloped by the Tippet Rise landscape.

The Tiara’s sound-reflecting surfaces sit above musicians, rather than surrounding them, like a room with no walls.

Sound is reflected from corners above the audience, sending sound from the stage around the audience’s heads. Opening up the wall space of a typical bandshell allows for views of the art center’s rolling hills and the mountains in the distance. These acoustic and visual approaches create an intimate and enveloping concert experience for up to 100 audience members.

Alban Bassuet and Willem Boning designed the Tiara, with Arup Engineers, Gunnstock Timber Frames, and Fire Tower Engineered Timber.

Will’s Shed Designed by Laura Viklund and crafted by Gunnstock Timber Frames and On Site Management, Will’s Shed is nestled between the Olivier Music Barn and the Artist Residences. In keeping with the spirit of the surrounding buildings and the region’s agricultural heritage, the structure employs a classic barn form and is traditionally timber framed out of Douglas fir. Whereas the Olivier Music Barn is designed for sublime musical experiences, Will’s Shed provides a more casual space for dining, education, and community events. Two sides of the building are clad in operable doors, allowing the structure to close in inclement weather without sacrificing the incredible views of the Beartooth Mountains.

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The Sculptors Patrick Dougherty

As one of today’s most admired living sculptors, Patrick Dougherty composes with nature: wielding saplings and sticks to build monumental structures that echo, play, and tussle with the land. Dougherty literally worked with nature at Tippet Rise, crafting his sculpture Daydreams from local willows. Partially enclosed and protected from the Montana elements by a replica frontier-period schoolhouse, Daydreams seeks to materialize the dream synapses of students. Learn more at stickwork.net.

Stephen Talasnik With ongoing installations around the world, sculptor Stephen Talasnik describes himself as a structural artist. He draws inspiration from imaginary architectural worlds like Piranesi’s, which he materializes into natural sculptures that fold into and accentuate the contours of the surrounding landscape. At Tippet Rise, Talasnik created Satellite #5: Pioneer to bring NASA’s mapping of the sky down to earth. Models of his proposed sculptures for Tippet Rise, Galaxy and Archaeology, are on display in the Olivier Music Barn. Learn more at stephentalasnik.com.

Mark di Suvero Widely recognized as one of the most influential artists of his generation to emerge from the Abstract Expressionist era, Mark di Suvero revolutionized the world of sculpture and profoundly influenced fields such as modernist architecture, design, and land art.

His large-scale steel sculptures, breaking away from the walls of museums, are meant to be experienced outside. His work probes time and space. Tippet Rise is proud to present two of di Suvero’s pieces: Proverb, a meditation on the tiny tools we use to measure infinity, and Beethoven’s Quartet, a clever commentary on the composer’s seminal work. Learn more at spacetimecc.com.

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Ensamble Studio Partners Antón García-Abril and Débora Mesa lead the team at Ensamble Studio that blurs the lines between land, art, architecture, structure, and sculpture. Using found materials, their work transcends architectural boundaries and time periods to produce a pure and direct emotional impact. At Tippet Rise, Ensamble has created structures cast from the soil beneath them that map a constellation on the land. Equal parts concert space, sculpture, and land art, the structures emerge autochthonously from the earth, visceral manifestations of nature. Their primitive vocabulary, rawness, and geological qualities derive from the landscape around them. Learn more at ensamble.info.

Alexander Calder Alexander Calder, whose illustrious career spanned much of the 20th century, was an acclaimed and influential sculptor. Born into a family of celebrated, though more classically trained, artists, Calder utilized his innovative genius to profoundly change the course of modern art. In the 1920s, he began by developing a new method of sculpting by bending and twisting wire; he essentially “drew” three-dimensional figures in space.

He is renowned for the invention of the mobile, whose suspended, abstract elements move and balance in changing harmony. From the 1950s onward, Calder devoted himself to making outdoor sculpture on a grand scale from bolted sheet steel. Today these stately titans grace public plazas in cities throughout the world.

A large Calder hung over Cathy’s living room as a child, and she was given a small Calder when she was born.

Calder also painted wonderful colorful circles, one of which we’ve lived with for many years.

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The Sculptures of Tippet Rise: Creating Unique

Relationships Between Land and Sky

The art center’s rolling 12,000 acres are home to an extraordinary diversity of native grasses, wildflowers and wildlife, bucolic herds of sheep and cattle, and eight mammoth works of art.

Two Discs by Alexander Calder is on gracious loan to Tippet Rise from the Hirshhorn Museum and Sculpture Garden, the Smithsonian Institution’s museum of international modern and contemporary art, located on the National Mall in Washington, D.C. With dark steel arches that invite viewers to walk beneath it, the monumental sculpture is a cornerstone of the Hirshhorn’s collection.

As it was the first work of art encountered for many decades by visitors to the Hirshhorn, it is the first to greet visitors to Tippet Rise.

The Stainless Stealer is the second work by Alexander Calder at Tippet Rise, also on gracious loan from the Hirshhorn Museum and Sculpture Garden. A large mobile, 15 feet across, hangs above the concert area in the Olivier Music Barn. Most of Calder’s mobiles are painted, but this one reflects the human condition around it.

Patrick Dougherty’s Daydreams is made from willows gathered by Pete Hinmon and Ben Wynthein from neighboring ranches and streams over several months in the spring. The collected willows were then soaked in a pond to prevent the saplings from sprouting, which allowed Dougherty to work with smooth willows.

Dougherty’s weavings are like Van Gogh’s frenzied strokes of oil paint, but calmly reasoned and patiently bent into place, anchored around key branches.

Dougherty had the idea that a schoolhouse would be the perfect canvas, so the contractor, Max Anthon of JxM, copied a nearby structure, down to its missing 54

Sculpture, ArtRise and Music at Tippet Rise About Tippet

shingles, which was then recrafted by CTA Architects of Bozeman. The shapes of the lounging students are also reminiscent of Provençal bories. Dougherty’s labyrinths lie on the surface of his mazes.

The Inverted Portal was the second of three sculptures created by Ensamble Studio for Tippet Rise. Equal parts shelter, sculpture, and landscape, the Inverted Portal was made from the land beneath it. Its primitive quality, rawness, and geological expression inspire a fascinating exchange with the natural surroundings. Each side of the Inverted Portal weighs over 200 tons. During construction of this piece, the largest cranes in Montana held the two sides of the sculpture in place while they were fastened together by steel pins.

The Domo is the final installment of Ensamble Studio’s three works for Tippet Rise. Although it seems a part of nature, the Domo was acoustically designed for superior sound projection for our outdoor performances. As a Stone Age plinth, it is the equivalent of a pyramid: an elegant transport into the new life of whatever is placed inside it. It was poured into the land and then excavated by bulldozers. Plastic tarps were used to create the folds in the stone, like a cloak by da Vinci.

The top of the Domo has been covered with Montana soil and seeded with native grass species to grow and stretch out toward the big sky.

Mark di Suvero’s Beethoven’s Quartet is about the late quartets of Ludwig van Beethoven, which, like Stonehenge, do double service as both objects and tools by which the universe can be uncovered. Di Suvero invites his audience to complete the connection of music, art, and landscape by playing the sculpture with the rubber mallets he left behind. This piece was originally housed at Storm King Art Center in the Hudson Valley, one hour north of New York City.

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Di Suvero’s Proverb, with its pendulum element that moves in the breeze, is a metronome made vast. Originally placed next to the Meyerson Symphony Center in Dallas, Texas, this monumental work brightly contrasts against the Tippet Rise landscape.

The Beartooth Portal was the first of Ensamble Studio’s three sculptures completed at Tippet Rise.

Like The Inverted Portal, the Beartooth Portal was made from the land beneath it: two large forms dug directly from the soil they stand on.

Stephen Talasnik’s Satellite #5: Pioneer is one of a series, this one named for the satellite launched in 1973.

Of Pioneer, Talasnik has said, “it was important to try to make the connection between manifest destiny of both those situations, the idea of human beings wanting to go beyond what they knew, to risk everything to go, and that somehow the risk-reward was really what it was about. Whether it was the early settlers coming to a wonderful place like this or the satellites and eventually, people, astronauts, who would go out into space, there were similarities to me…”

Talasnik spends about a quarter of his studio time creating a growing collection of architectural model pieces. Two of these, Galaxy and Archaeology, are on display in the Olivier Music Hall.

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Sculpture, ArtRise and Music at Tippet Rise About Tippet

Music at Tippet Rise

Each summer, Tippet Rise offers live classical chamber music and recitals performed indoors and outside by some of today’s most celebrated musicians. Concerts take place in the Olivier Music Barn, inspired by the performance spaces for which Haydn and Mozart composed their works, and under the Domo, a 98' 5" long, acoustically rich sculptural structure designed by Ensamble Studio.

The 2020 music season features new and returning artists, established soloists and rising stars, presenting works ranging in date from the early 18th century through today. Pre-concert lectures are offered at the Tiara, an acoustic shell without walls that offers 360-degree views of the rolling Tippet Rise landscape.

The 2020 concert season begins July 10 and concludes August 29. For details, please visit the Events page at tippetrise.org.

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Art at Tippet Rise

Isabelle Johnson

We discovered after a while that the mysterious

Johnson ranch was actually one of three ranches owned

by Isabelle Johnson and her two sisters, where they hayed and ran cattle. She always considered herself a rancher first.

But secondly she was Montana’s first Modernist painter. She lived down by the Stillwater River, but she came up to what is now part of Tippet Rise and did many of her great paintings in the meadows, in the snow, among the wildflowers.

The land hasn’t changed much since Isabelle Johnson painted it. Not much has happened to Fishtail. But what really happened to Fishtail was that Isabelle Johnson went to Paris. She went to New York, and Rome.

And she brought home the light from distant worlds.

The Hudson River light of Thomas Moran, the chalk glaze of Cézanne, the yellowed clay of the Camargue, the arid, blockish hills and riverish fields of Winslow Homer.

After Isabelle Johnson, Western light could finally be described in terms of other civilizations, of New Jersey industrial haze and Norwegian angst. When you look at the barren folds of glaciated wastes around Fishtail with her eyes, you come to see the erasures, the gaps. You see her idea of how the world worked, her personal mechanics of wheat and cottonwoods.

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Sculpture, ArtRise and Music at Tippet Rise About Tippet

Leger, cut out from faded newspapers; Stuart Davis, the polluted pastels of the industrial revolution; the faded tempera of Giotto; the angularity of Thomas Hart Benton—all worked their way into her sandstone arroyos, coulees edged with Corot pinyons: what the West came to mean to people who had never gone West, to workers in East Coast factories, to existentialists in European cafés, to people at John Ford movies. Such Western pentimenti are nothing that can be seen; they are hidden under guidebook photos, accumulated over the years, suggested in silos, smelled in the pollution of big city sunsets, mixed into ordinary fields of grain by ions in the clouds, the way you can smell the rain before you see it.

You can’t visit the Alpilles around Les Baux without seeing them the way Cézanne did. In the same way, Isabelle Johnson lent Mondrian angles and Kandinsky chords to tufts in the Stillwater River, which flowed through her ranch in Fishtail.

Johnson’s West is the whorl in the hay, the sharp edge between the bales and the sky. Valleys howl with gouache, the knife slathers on the evening dark while morning continues to bend in the wheat, and sun beats on the trunk.

She saw nature as an adversary, the early winter that cuts in half the benefice of fall, the vast cumulus that rots the harvest with the scythe of storm light, the early flood that carries summer seeds into distant valleys: volcanic folds in the land that are gorgeous but sprung from ruin.

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The recurrent droughts, the blizzards, the quakes, the notorious Arctic fronts have cleared the high plains of all but the most determined.

Ranchers chip a living out of the depleted soil on its way towards desert; artists hammer a sky out of a Provençal palette, forge a winter out of borrowed fire.

Isabelle Johnson did both. And so her colors harbor a harder edge than their cousins on the palmate French coast. Her trees howl with deprivation, the stronger heirs of St. Rémy orchards limp in the Mediterranean heat. She brought foreign suns to frozen tundra, dichotomies that even now don’t fit into the easy sweep of the brush, that aren’t natural to the lazy hand of the landscaper.

She muscles the hiker’s eye onto a ridge, a bush, a cow in bursts of light like Vermeer’s, that guide the day into unnatural balances.

She notices how boughs interlock in mad scenes of wind, how cows blend into bursts of glare bouncing off the hay, how pines, snow, and sandstone, born out of extremes, merge into cozy, controlled patterns on the land.

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Sculpture, ArtRise and Music at Tippet Rise About Tippet

When you travel outside Fishtail today, you see tractors frozen in amber set against the Magritte gray of a supercell sky; you see the campfire marshmallows of mountains superimposed on the pumpkin orange of lost hayfields. You see them because a woman who hayed her father’s ranch, who birthed calves, who shot sick horses also saw something deeper than what cameras see.

Isabelle Johnson saw the future, the industrial modernist palette in fields, flowers, and valleys that even today remain planted firmly in the agrarian past.

But if you look closely, the details have changed. A lot more is on the breeze and in the leaves, because of Isabelle Johnson.

Tippet Rise is extremely fortunate to have recently been able to purchase the two Isabelle Johnson paintings on this page. These two works will be on permanent display in the Olivier Music Hall.

—Portions excerpted from “Photographing Isabelle,” by

Peter Halstead in A Lonely Business: Isabelle Johnson’s Montana, Yellowstone Art Museum, 2015.

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The Beartooth Mountain Range

O

ne of the most remarkable examples of the Montana ecosystem, the Beartooth Mountains are part of the 944,000acre Absaroka-Beartooth Wilderness. Also home to the highest point in the state, Granite Peak (12,807 feet), and the next 40

Saddleback Mountain 10,876 feet

Frozen to Death Plateau

ÂŤ East Pyramid Mountain 12,119 feet

Mount Wood Mount Hague

12,649 feet

12,323 feet

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For Your Visit

tallest peaks in the state. The Beartooth Range has a four billion-year-old geological history and features a unique and expansive high alpine plateau, as well as more glaciers than Glacier National Park.

Fishtail Plateau

West Âť Stillwater Plateau Highpoint Stillwater Plateau

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Sculpture Tours

Placed atop knolls and nestled into valleys across the art center’s 12,000 acres, our sculptures can be toured by van, by bicycle, and on foot.

Tours by eight-passenger van Sculpture tours by van visit all of the art center’s sculptures and last approximately 2.5 hours. The van will stop at each sculpture. All sculptures are visible from the van; however, guests are welcome to walk to the sculptures to stretch their legs, snap photos and take a closer look.

Van tours are $10.00 per person and free for everyone 21 and under; all tours require reservations. tippetrise.org.

Hiking and Bicycling Bring your bike or your hiking shoes and tour the sculptures and the land on your own. Roughly 10.5 miles of trails and 13 miles of gravel road connect the sculptures at Tippet Rise. Distances between each sculpture vary from a half mile to 3 miles on hilly terrain with very steep grades.

Hiking and bicycling tours are free of charge but require reservations, which are available on our website, tippetrise.org.

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For Your Visit Rise About Tippet

Satellite #5: Pioneer

by Stephen Talasnik 2016 Yellow cedar and steel

Beethoven’s Quartet

by Mark di Suvero 2003 Steel and stainless steel 25’x30’x23’, 25,000 pounds

The Beartooth Portal

by Ensamble Studio 2015 Concrete 32’ 6 1/2”x 25’ 3 1/4”x 26’5 1/2”

Proverb by Mark di Suvero 2002 Steel and stainless steel 60’x25’x35’

The Inverted Portal

by Ensamble Studio 2016 Concrete 40’2 1/4”x17’x11 3/4”x22’51/2”

Two Discs by Alexander Calder (1898 –1976) 1965 Steel and paint 25.5’x27’x17’

The Domo by Ensamble Studio 2016 98’.5”x49’2 1/2”x13’ 1 1/2” 1000 cubic yards of concrete

Daydreams by Patrick Dougherty 2015 Willows were gathered locally

by Tippet Rise team members 2020 Summer Season Season 2020

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The Tippet Rise Team Lindsey Hinmon Co-Director

Lindsey assists in leading Tippet Rise, alongside her husband, Pete. She keeps the art center’s logistics humming smoothly, oversees public relations, and is instrumental to our planning and development. Lindsey coordinates with artists, architects, and musicians, community members and educators, from kindergarten teachers to university deans, as well as leaders from regional and national cultural institutions, welcoming everyone into the Tippet Rise family. In short, Lindsey helps to bring the Tippet Rise vision of nature, music, and art intertwined to full, blooming life—an experience she hopes to share with her Montana friends and people from all over the world.

She and Pete live in Red Lodge with their baby girl.

Pete Hinmon Co-Director

A lifelong pursuit of adventure in the mountains led Pete to Tippet Rise, where he draws on his experiences to make the organization’s vision a reality. Intrigued by the exploration of art and nature, Pete’s role at Tippet Rise is an adventure in itself. Often working in tandem with his wife, Lindsey, Pete provides team leadership, oversees the art center’s operations, planning, and development, and coordinates the installation of its sculptures. When he isn’t orchestrating Tippet Rise’s many facets, Pete enjoys life with Lindsey and their baby girl, all the better if it’s outside beneath Montana’s big, beautiful sky.

Ben Wynthein Ranch Manager

Ben oversees ranching operations at Tippet Rise. From May to mid-November, this work includes grazing oversight of 200 to 300 calf-cow pairs, 100 to 120 heifers, and 2,000 to 2,600 head of sheep. He works year-round to improve Tippet Rise’s rangeland health as well as its water use and conservation practices. Through these efforts, Ben endeavors to make Tippet Rise an increasingly healthy and viable ranchland, wildlife habitat, and treasured piece of the Montana landscape. In the process, he hopes the art center’s guests can enjoy and experience Montana’s rich ranching heritage. For the past 10 years, Ben has lived with

his family on or next to what is now Tippet Rise.

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The Tippet Rise Team

Melissa Moore Communications and Administration Manager

From the moment a guest first learns of Tippet Rise to the time they exit the art center’s gates, Melissa helps facilitate their experience from beginning to end. With a background in theater and hospitality, she oversees communication and administration at the art center. From managing the Tippet Rise website and social media accounts to orchestrating event planning and ticketing, her contributions are indispensable to day-to-day operations and to her colleagues at the art center. Melissa lives in Red Lodge with her husband and two young daughters.

Beth Korth Art Education Coordinator and Visitor Center Manager With a background in fine art and education, Beth has taught kindergarten through 12th grade, as well as at the college level, running art workshops, teaching classes, and giving tours. She earned a BFA from the University of Wyoming and an MFA from the University of Montana and is a professional artist herself. Beth began working at Tippet Rise as an intern during the inaugural season. Today, she manages the visitor center and oversees our art education programs, which focus on art, music, architecture, and conservation through hands-on workshops for all ages.

Alexis Adams Editor and Publications Administrator

Born to a pianist mother and raised in the United States, England, and Greece, Lexy grew up surrounded by music: from the Haydn, Bach, and Chopin her mother practiced each morning to Greek Rebetiko, bossa nova, and the American folk songs of the 1960s and ‘70s. A longtime freelance writer, her work has been published by Oxford University Press, The Boston Globe, The Washington Post, National Geographic Traveler, Scientific American, and other publications. At Tippet Rise, Lexy writes and edits content for the art center’s publications and website, and she assists with our public relations efforts. Although she often works alone and behind the scenes, Lexy’s favorite days are spent working alongside her colleagues at the art center, helping guests, and marveling at the extraordinary acoustics of the Olivier Music Barn.

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Monte Nickles Audio and Technology Systems Manager

Monte maintains the Olivier Music Barn’s state-of-the-art audio-video systems and supervises all audio recordings of performances at Tippet Rise, which he masters in ultrahigh­-fidelity formats and in 9.1 surround sound. With a bachelor’s degree in audio production from Webster University in St. Louis, his background also includes recording the St. Louis Symphony’s performances for several years. But Monte not only records performances, he also performs: on the trumpet, which he has played since childhood.

Carl Mayer Maintenance, Events, and Special Projects Coordinator

Carl has served as interpretive ranger at Tippet Rise since the inaugural season, patrolling the art center’s 12,000 acres by mountain bike and providing insight and guidance to our guests as they explore our trail system on foot and by bike. He also serves as events crew, assisting with the setup and breakdown of concerts. When not working as a ranger or on the events crew, Carl helps to complete a wide variety of projects, and assists with the coordination of new building endeavors. Originally from the great state of Maine, Carl has a degree in biology from St. Lawrence University in upstate New York.

Dan Luttschwager Maintenance and Operations Assistant

Dan helps to maintain the buildings, mechanical systems, vehicles, and equipment at Tippet Rise. Always willing to help with whatever is needed, he is not only indispensable to the art center’s operations, he is a friendly face to guests, artists, and staff alike. A lifelong Montanan, Dan loves the outdoors, especially the mountains and the rivers and streams, which he explores by raft as often as possible. He and his wife, Yvonne, live near Absarokee, Montana. They have three children and four wonderful grandchildren. Dan is proud to be on the Tippet Rise staff, believing it to be ‘’one of the greatest places there is.”

Jenny Van Ooyen Guest Experience and Administration Assistant

Jenny began her journey at Tippet Rise as an interpretive ranger and member of the events crew during the art center’s inaugural season. From setting up concerts at the

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The Tippet Rise Team

Domo to taking guests on sculpture tours or helping those who are hiking and biking the art center’s trails, she utilizes her passion to try to create unforgettable guest experiences. Jenny’s position at Tippet Rise also requires her to assist in a variety of administrative duties.

When she’s not giving tours, maintaining trails, or riding with cyclists out on the land, Jenny enjoys spending her time hiking and fishing in the Beartooth Mountains. With a degree in environmental studies from St. Lawrence University, she loves sharing the connections between art, music, and the beautiful Montana environment with the art center’s visitors.

James Joyce Filmmaker

At Tippet Rise, James Joyce edits concerts, records performances, and crafts short documentaries. An award-winning storyteller and film professor, James earned his Master of Fine Arts from Northwestern University. With his personal, micro-short films, he endeavors to embrace the other James Joyce’s definition of beauty: wholeness, harmony, and radiance (even if, he says, he doesn’t incorporate enough stream of conscious dialogue to properly channel his namesake). James likes to say that he appreciates all filmmaking roles equally, but truthfully, he is just a little happier with a camera in hand, directing light onto the subject.

In the summer James splashes around in his canoe; in the winter he slides on snow. James and his wife enjoy spoiling their scruffy puppy, Oreo, and photographing with various Polaroid cameras.

Zack Patten Music Programs and Podcast Coordinator

Music in unique sonic spaces, sculpture and architecture in stunning landscapes, storytelling, delivering intriguing programs, and being part of a forward-thinking team are passions of Zachary Patten. In his professional career, he has served as library manager, production manager, and manager of operations and performance for several outstanding arts organizations, most notably the Orchestra of St. Luke’s, Music at Sacra, Aspen Music Festival, Mostly Modern Festival, and Boulder Bach Festival. At Tippet Rise, he is production coordinator and podcast creator. Zachary is also finishing his DMA in composition from the University of Colorado; his art focuses on designing and building instruments and working with individual performers to create music that is patient, immersive, new, and nostalgic.

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Christopher Castillo Facilities Operator

With a master’s degree in architecture from the University of Texas at San Antonio and a bachelor’s degree in studio art from Knox College, Chris brings a wonderfully apt blend of insights and skills to Tippet Rise, where he manages and maintains the art center’s grounds, buildings, and mechanical systems. His nimble orchestration of our state-of-the-art heating and cooling systems helps to keep the pianos of Tippet Rise, and the many instruments that accompany our visiting artists, in fine shape. Chris helped shepherd the art center through the process of receiving LEED certification for the Olivier Music Barn and is continually looking to improve the building’s operational and energy efficiency. Before moving to Montana, he spent 10 years with the National Park Service working in facility management and cultural resources.

Jim Ruberto Assistant Audio Engineer and Technical Systems Engineer

Jim assists in all phases of audio production process at the art center and helps manage the cutting-edge technology systems behind the scenes. His mission is to support the Tippet Rise vision by capturing the powerful musical moments with an exceptional level of faithfulness, spatial realism, and clarity. With more than 25 years in the music industry as an engineer, producer, performer, and technical systems engineer, Jim brings leadership, creativity, and rigor to his work, and balances the highly technical tasks the A/V team faces daily with a sense of playfulness. Jim splits his time between the art center and his home in Colorado, where he’s a busy musician and audio engineer, and also enjoys the outdoors and writing music.

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The Tippet Rise Team

Craig M. White Creative Consultant and Graphic Designer

While Craig has had many management positions with national marketing and advertising firms, he has never wandered far from what he likes doing the most. Since his very first position at D’Arcy MacManus and Masius, the creative process—writing, designing, and working in radio and television production—was where he felt most comfortable and productive. From Budweiser to Bravo! Vail, he has worked on a wide variety of accounts from coast to coast. Tippet Rise is the perfect fit for Craig. Here his artistry and skills as a graphic designer have helped create beautiful advertising pieces, brochures, and the book you are holding in your hands. His participation doesn’t stop there either; he has contributed to our signage program, trail maps, even our ticketing programs. It’s difficult to find a project at Tippet Rise that Craig hasn’t had a hand in helping to create.

Jeanne Reid White Special Projects Advisor

Jeanne draws on a background of management, strategic planning, marketing, finance, and institutional advancement for diverse organizations ranging from international sports events to classical orchestral, chamber music, and jazz concerts. She enjoys sharing the mission of the Tippet Rise Art Center and providing communities with live classical and contemporary music of the highest level while creating educational opportunities for audiences of all kinds. She finds it deeply fulfilling to work with artists from all genres, helping them to realize their creative visions and then sharing them with audiences in the Olivier Music Hall, on the land of Tippet Rise, and throughout the virtual world.

Jeanne and her husband, Craig, enjoy skiing, hiking, traveling, and all kinds of live music performances.

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Pedja Muzijevic Artistic Advisor

Pedja is a minutely detailed pianist who plays everything from C.P.E. Bach to Morton Feldman, John Cage, and Jonathan Berger. He is the artistic advisor as well to the Baryshnikov Arts Center in New York, and directs a residency at the Banff Centre in Canada called Concert in 21st Century, while maintaining a concert career that encompasses Zagreb, Brussels, Paris, Amsterdam, Lucerne, Melbourne, and Lincoln Center.

His programs explore the synergies between painting, music, and poetry.

For instance, this season Pedja will define the similarities and differences between Haydn and John Cage.

Pedja is one of our esteemed musicians whose playing will be available this year in several formats: in 24/96 on Amazon, on Spotify, and in DXD stereo on our HighResolution Downloads site (DXD is the most detailed way of presenting recorded music. We record in nine channels of DXD, and are currently making it available in stereo).

Along with our two-month season, Pedja is emphasizing this year pop-up concerts (to be announced a week before), outdoor concerts, and community performances.

He is encouraging more musicians to talk about the works they play.

We know that our audiences will enjoy the wit, clarity, and energy with which Pedja infuses his concerts.

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Thank you to the many others on the Tippet Rise team who help to keep the art center flourishing.

Chris Clark

Along with the team she brings to assist her, Chris works behind the scenes to keep the Cottonwood Campus and other Tippet Rise structures clean, warm, and welcoming.

With her infectious smile and longtime roots in this region, Chris makes Tippet Rise feel like home.

Laura Viklund Architect, Gunnstock Timber Frames

Growing up outside of Boston then moving to rural Wyoming, Laura has her foot in two different worlds.

Her introduction to timber framing nearly 15 years ago decidedly altered her life’s trajectory. Laura worked as a timber framer for several years before attending the Harvard Graduate School of Design to earn her master’s in architecture. She and her husband, Chris Gunn, founded Gunnstock Timber Frames in 2005. At Tippet Rise, Gunnstock’s contributions include Will’s Shed, the artists’ residences, the Tiara Acoustic Shell, and the extraordinary Olivier Music Barn. Laura and Chris handled the logs and logistics for the Xylem pavilion, no mean feat, as there were 40,000 logs involved.

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This publication was prepared for Season Five at Tippet Rise Art Center Photographers for the 2020 Art Center Guide: James Florio Peter Halstead Eric Petersen Emily Rund Craig M. White Cover Photography by Iwan Baan Text by Peter Halstead and the Tippet Rise Team Creative Consulting and Design by Craig M. White Production by McKenzie Designs Editing and proofreading by René Spencer Saller ©2020 Tippet Rise, LLC Two Discs and Stainless Stealer photos by permission, © 2020 Calder Foundation, New York /Artists Rights Society (ARS), New York All rights reserved. No part of this book may be reproduced in any manner in any media, or transmitted by any means whatsoever, electronic or mechanical (including photo copy, film or video recording, Internet posting, or any other information storage and retrieval system), without the prior, written consent of the publisher.

Visit tippetrise.org for more information about the artists, tours, events, videos of performances and interviews.

96 South Grove Creek Road, Fishtail, MT 59028 406-328-7820 • tippetrise.org

Dining at Tippet Rise

During the summer season, snacks, lunch, and—on concert evenings—dinner are available to purchase in Will’s Shed, the dining pavilion adjacent to the Olivier Music Barn. Wine, craft beer, and a variety of nonalcoholic beverages are also available. All fare is deliciously provided by PREROGATIvE Kitchen, the celebrated eatery in downtown Re Lodge.

Led by Gena Burghoff and chefs-owners Chris Lockhart and Danny Mowatt, PREROGATIvE Kitchen serves fresh, flavorful, creative food made from regionally produced ingredients. From the start, the Red Lodge establishment has garnered praise from customers and the press for its innovative, delicious dishes and its chic, welcoming ambience. When you’re in Red Lodge, be sure to stop by their flagship restaurant, at the former City Bakery.

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